Tag: Japan

We all had to deal with schoolyard rumors and gossip as adolescents; whether directed at us or friends, it was usually never a good thing. Imagine, if you will, a world where these hurtful rumors are coming true, from the mundane to the utterly ridiculous. This is the world of Shin Megami Tensei Persona 2: Innocent Sin. Originally released way back in 1999, this particular entry of the Persona franchise actually never left Japan back then, while the second part of this two part series, Eternal Punishment, did. Many reasons have been cited for why this exclusion originally occurred, most notably a homosexual relationship within the game and the inclusion of Adolf Hitler as a major villain. Thankfully for all “Megaten” fans with a PSP, there is now finally a legal way to play this game.

Fans of Revelations: Persona, and its later PSP port, will find that the game is vaguely similar in many ways, except for a huge facelift. First and foremost, gone are the first person dungeons, replaced by a familiar isometric over-the-head view made standard by many a Japanese RPG. This sounds like a minor change, but it makes the dungeons slightly less monotonous and confusing, especially in areas like a school building where all walls look the same. Other improvements include the ability to select between three difficulty levels, the ability to save almost anywhere, and a far more streamlined battle system.

The battle system is of the tried and true “random encounter” variety from yesteryear. Everything is turn-based, except the player is given almost complete control over character positioning, turn order, and other commands, including auto-battle. This comes in handy in two major ways. Firstly, when one is trying to obtain new “fusion attacks”, one needs to be able to re-order various spells as they need to be performed in a very specific order. The second example is when you see that the turn order is going to lead to a character dying (e.g. they are poisoned), all you have to do is open a menu and switch them around. I really enjoyed this, as the completely random nature of newer Persona games drives me up the wall even though I love the series.

All of the main characters are equipped with an initial Persona, a sort of multi-dimensional being that gives its user the ability to use magic. Aside from leveling up the actual characters in the game, one can also level up these Personae (Personas?) to learn new spells and abilities. If you tire of the “factory” models, you can always hunt for more. Of course, the legendary “contact system” is here in full force for franchise veterans.

For those new to the series, this system allows for players to communicate with the demons they are fighting. When on the “contact” screen a player has to negotiate with the target demon. One can ask for money, healing, items, or even a “pact” that allows for the player to summon that demon as their new Persona. Think of something similar to Pokémon (SMT did this first though), except on more of an intellectual field. The player has to figure out which character would be the best to speak to the demon, and what they need to say; say the wrong thing and you can provoke an extra attack from the monster rather than a shower of goodies.

The story of Shin Megami Tensei Persona 2: Innocent Sin is initially fairly confusing, but rewards people for “hanging in there”. The game opens with the silent protagonist, Tatsuya, getting into trouble at Seven Sisters High School with the new principal. One can see that something is definitely wrong immediately as the comically evil-looking principal (complete with a scar over his eye) has apparently mysteriously won over the student body to the point where he gets cheered by passers-by and has had a statue built in his own honor. This coupled with a sudden rash of disfigured students has led to rumors of curses, demons, possessions, and other occult happenings. Tatsuya and his rag-tag group of friends (including his female companion Lisa, and visual-kei musician and overall comic relief character, Michael) assume that the urban legend of a person called “The Joker” who grants wishes must be true. It is said that if one calls their own number on their cellphone, they can summon him and get their greatest wish.

Without spoiling too much, it is revealed that these rumors are in fact coming true, and this plays a very significant role in the actual game. In most games, talking with non-player characters (NPCs) doesn’t get you very far. In this game, one can actually come across rumors in dialog, which, with the help of a certain detective agency and a nominal fee, can ultimately come true. Early on in the game one such rumor pops up in which a local Ramen shop is said to be a front for a black-market munitions shop. This is obviously nonsense… until you pay off the detectives to help spread the rumor. Once it hits critical mass you have access to your very first weapons shop. Players that explore every nook and cranny for rumor-mongers, gossip-peddlers, and other nosey people could end up with optional quests, optional weapons, and altered maps.

When looking at the graphics and audio in this game it is important to realize that it’s over a decade old, and originally ran on a console far less powerful than the PSP itself. Because of this, it’s hard to see this as much more than a nostalgia title – a “lost game” in a widely popular series. That doesn’t ruin this game at all, but when comparing the presentation to other PSP RPGs, like Valkyria Chronicles 2, for example, you can really see the age. There are cleaned-up “modernized” menus and an option to use the remixed music. Fans that like to keep things retro can toggle the music option off – a huge bonus for those that hated the musical revisions in Persona PSP. Keeping the above in mind, Persona 2 does have good graphics for its time, and with a few pre-rendered cut scenes here and there, it never feels too antiquated.

I mentioned earlier that one of the major stumbling blocks of this game’s release in the West was some of the content held within. There is good news and bad news, as almost all of the game is intact, including an implied homosexual relationship (assuming the player chooses that path), and the inclusion of Hitler as a boss character. The bad news is that Hitler is simply referred to as “Fuhrer” and is seen wearing a hilarious pair of sunglasses – just as he was in the Japanese version. This has caused many to jokingly call the character “cool Hitler”.

Assigning a value to this game can be hard as it will be loved by one generation of RPG fans, and possibly hated by the other. On one hand, the sheer length and content held within is staggering, especially compared to Persona PSP. While you could breeze through that game in no time at all, Innocent Sin could easily take 40-50 hours if you are a “completionist.” It took me a total of around 55, but bear in mind that I power leveled, talked to all NPCs and tried to do as many side quests as I could. People with less time on their hands might be able to finish it in around 25 or so, just breezing through the storyline. This is great for a handheld RPG, and makes it feel more like the real deal than other, sparser handheld RPGs out there.
All in all, Persona 2: Innocent Sin is a strong choice for any PSP RPG fan, and with PSP entering its twilight moments, this could very well be one of the system’s last hurrahs. The game shows its age with dated conventions such as mindless grinding, random encounters, and muddy graphics, but makes up for it in spades in both the storyline and gameplay departments. Fans of the newer Persona games will want to play it, as it is definitely the “missing link” between the old school mentality of Perosna PSP and the newer Personas (3 and 4 especially). So was the long wait worth it? Yes, and I loved every minute of it.

For me, one of the most overlooked and underappreciated anime / manga franchises out there (at least in America) is the venerable Cyborg 009 series by the late Shotaro Ishinomori. Created in 1963, Cyborg 009 could be considered Japan’s first superhero property, and one of, if not, the first fully racially integrated superhero team stories out there. There have been countless comics, movies and TV shows made for the franchise, this being the most recent. It should be no surprise to my readers that I really like older anime and things that have interesting art styles, and I find Ishinomori’s versions of the classic 60’s manga style to be at least up there with Tezuka.

Sadly, I recall the art style of the 2001-2 show (that aired on Cartoon Network) to be a dividing force in anime fandom at the time, with some of the more “mainstream” fans disliking it “because it looked old”. Thankfully 2017 is an entirely different beast, and while this show has had a modern facelift, anime fans seem to be more willing to try different things today which is great! Don’t be surprised if I do more Cyborg 009 reviews soon, as the 50th anniversary has brought a handful of new shows, films, and comics to enjoy.

The main story of Cyborg 009 involves a shady militarized weapons manufacturer and terrorist organization called Black Ghost, and their newest project – cyborg super soldiers. Nine people from around the world are kidnapped and forced to undergo experiments which turn them into cyborgs with superhuman powers. Realizing that they have been wronged, and that Black Ghost is a threat to humanity itself, the cyborgs band together in order to stop Black Ghost in its’ goal of starting the next world war.

This story picks up years after Black Ghost has been eliminated, and the Cyborgs are trying to live as close to normal lives as they can, only to have that ripped away from a new threat – Metahumans with abilities like their own that have seemingly been ordered to kill the Cyborgs. Called “The Blessed” these guys are all sorts of zany bad guys such as a Cowboy that can control the weather, and a man that can alter gravity at will.

Cyborg 009 – Call of Justice is a “Netflix original” that was originally released as three films in Japan. It was produced by Production I.G and OLM Digital and distributed by Toho with Kenji Kamiyama (he directed Ghost in the Shell: Stand Alone Complex ) as executive producer and chief of the project, and Kokai Kakimoto (Psycho-Pass movie unit director) as director of the films themselves. Netflix basically took this footage and edited it into a twelve episode series that premiered last month (Feb 2017).

I mentioned earlier that there was a “facelift” of sorts for the animation and character designs, and for once this is a modernization that isn’t terrible. The Cyborgs in Cyborg 009 have always had iconic red costumes adorned with yellow buttons and long yellow scarves. This motif is intact, but the suits have been “upgraded” to armored protective suits with yellow vent ports in the place of buttons. oh yeah, the yellow scarves are there! It’s subtle, but it’s a welcome upgrade for the long running series. Another change is that the character designs have been tweaked a bit, even from the 2012 film 009 Re:Cyborg, also from production I.G.

While this may be the farthest departure from the classic art style by Shotaro Ishinomori, the character designs are good, in honestly my only quibble is that every iteration seems to make Jet Link (Cyborg 002) look less and less stylized that his original design. Jet used to have crazy spike hair and a huge hooked nose, now he just has a big nose and shaggy blond hair as if played by a young Owen Wilson. This isn’t a deal breaker, but I wish classic character designs wouldn’t be hidden sometimes – this was also an issue for me with the recent Harlock CGI film. The flipside to that sentiment is that thankfully, Cyborg 008 – an African man named Pyunma, has been toned down as to not look like any sort of blackface character as he previously was depicted. Granted, this hasn’t been an issue since the 70’s or so, but seeing the original 1960’s version of this shows Aquaman is pretty uncomfortable at times.

You may have noticed that this show uses 3D CGI graphics to render characters rather than a traditional style that mimics old-school cel art. Japan has caught a lot of flack for years in the way that they handle this sort of animation as it seems somehow “cheaper” than American and even European counterparts. This sadly isn’t an actual technical limitation, but a misguided stylistic choice. The following is an excerpt from an Anime News Network column on the issue that may shed some light:

Part of the problem is that not only are CG artists trying to imitate the look of 2D animation, but they’re trying to imitate an aesthetic that was born out of cost-cutting. If anime had always been lavishly funded, it might have consistently been animated on 1’s or 2’s (that is, 24 or 12 frames per second, or a cel every 1 or 2 film frames). But it’s usually far less. To try and match that, CG artists have started rendering at lower frame rates — 6 or even 4 frames per second.

This style is jarring to western fans used to things like CGI animated films from Disney, Dreamworks, or Pixar. Hell there are even crappy children’s shows that look infinitely better than a lot of CGI anime – a recent whipping boy for this is 2016’s Berserk TV series – check out the bloodbath that unfolded after that show premiered to see how passionate fans are about this issue.

So where does Cyborg 009 – Call of Justice fall into this picture? Well, thankfully it looks pretty good – it’s by no means the best I’ve seen, but the animators made some cool choices that show a lot of depth and show off action very well. There are a few janky scenes here or there, but for the most part the animation seemed on par with shows like Cartoon Network’s recent Green Lantern series or Disney’s Tron show. It seems that Japan is finally drifting away from the fake low framerate effect on their shows, now they just have to work out stiffness a bit more, and we’ll really start to see the style come into it’s own.

I did forget to mention earlier, but I watched this anime in English on Netflix, so we have an anime dub in play. This one was produced by California-based Bang Zoom! Entertainment who used to always do dubs for Manga Entertainment releases. They are usually a solid studio with this production being no exception. I haven’t followed a lot of today’s voice actors very much, but everyone involved seemed to do a great job, and there wasn’t anyone in the cast that grated on my nerves.

All-in-all I really enjoyed this show, and hope more people check it out. Thankfully, it exists as an entry point into the franchise and really doesn’t require any knowledge of a 50+ year old back-story, but it also doesn’t alienate long-term fans. Perhaps the plot is a bit “too safe” to be anything immediately classic, but it’s a fitting chapter in a long story. If you think this looks cool, or want to see what is basically “Japanese X-Men” I’d give this show a shot!

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When I was a kid, perhaps too young to watch these sorts of films, I fell in love with the movie Vampire Hunter D when it used to air on The Science Fiction Channel (now called Syfy for some reason). This, along with Nosferatu and hammer horror, has made it basically impossible to take many “modern” vampire books or films seriously – especially ones featuring adolescent sparkly vampires. For the longest time, I knew that the film was based on a book series, but had no idea that there were dozens of volumes out there and that most of them were translated into English. The wait was well worth it, and this book was awesome.

For those that have seen the animated feature, the story of this book may seem familiar as it is the basis for that film. There are a few differences, but the plot is largely similar – the studio that did the anime adaptation did a pretty solid job for the most part. For those that may not have seen it, here is a quick run-down. The year is 12,090 AD. Ten thousand years prior to this book, there was a war between humans and supernatural monsters of all sorts, and the monsters won. Humans are now a subjugated race and are seen as livestock by vampires. These noblemen and women keep mechanical security systems as well as armies of werewolves and mutants to protect them from any human stupid enough to try to face them.

While out hunting one night, a young girl named Doris trespasses into the vampire domain of Count Magnus Lee. As payment for her crime, Lee “kisses” her and discovers that her blood is the sweetest he’s tasted in ages. Lee decides to marry Doris much to her own displeasure. Lee’s daughter Ramica cannot tolerate the idea that her father, a descendant of the Ancient One (likely Count Dracula), intends to pollute the House of Lee with human blood, and she vows to stop the marriage.

Doris runs into a young man calling himself “D” that claims to be a vampire hunter, Doris makes a living as a werewolf hunter herself, and sees D as a stupid young kid that likely has a death wish. That is, until she sees him in action. D is insanely fast, strong, and agile – all things that would definitely help if vampires were to start walking around – Doris decides to try to enlist his aid. What follows is a story of D, who is himself at least half-vampire, fighting all manner of evil monster to slay Count Lee.

Hideyuki Kikuchi is a master of setting moods and describing events in this book. Considering the style in which he writes, I would not be too amazed if he was a fan of the works of H.P. Lovecraft, as he is somewhat similar to he and other old-school pulp writers. Granted, this was an English translation, so maybe the translator is instead – who knows! Honestly his only flaw is that he tends to make some characters a tad one dimensional – people like Greco Rohman, the seedy man-child and son of the mayor that has his eyes on Doris, is a cartoonishly evil buffoon that comes across quite trope-y. Sadly D himself also comes across as of he has little personality in this novel existing to be surly and stoic 24/7. Thankfully “lefty”, D’s sentient left hand, is there as comic relief and adds a bit to D’s character. Doris, however, is actually fleshed out really well – a fact that is somewhat surprising considering how she seems like a perpetual victim in the anime. She gets time to look badass, and take names, herself.

I love the pulp style that Hideyuki Kikuchi writes in, I see that some reviewers find it silly, but I read a lot of older science fiction, so this is right up my alley. If you love Vampire Hunter D, gothic horror, post-apocalyptic fiction, or weird sci-fi, I’d check this out. Can’t wait to read more!

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It’s no mystery that one of my favorite videogame franchises is the venerable “MegaTen” series, which is shorthand for Shin Megami Tensei and encompasses a “main series” and its spinoffs. The first entry in the series, Digital Devil Story: Megami Tensei, was released in 1987 on the Famicom (NES) and its success spawned the entire franchise that still has new games coming out yearly. Few people realize, however, that this entire franchise was originally a book by Aya Nishitani.

I’ve wanted to read the original novella that started the whole thing for quite a while, but the lack of an actual translated book and my desire not to read thousands of words on a computer screen kept me away until now. Apparently a fan translation has been circulating for a while, and Goodreads thankfully had a link directly to it. After a few clicks and a bit of formatting, I was all set. Side-note: I did see an old anime OVA based on this book years ago (check youtube for Megami Tensei OVA) but it’s pretty bad despite being largely true to the book.

Akemi Nakajima attends a prestigious school called Jusho High (the gifted class no less) and despite being a genius, is having trouble in his classes. He is distant, ignores his schoolwork, and has few friends. This all seems to stem from the bullying he deals with from day to day. The book opens with Nakajima fighting with a male and female classmate because he ignored her romantic advances and is some kind of lunatic and gets her boyfriend to beat Nakajima up. He is plagued by nightmares of ancient gods Izanagi and Izanami, the gods from the Japanese creation myth, roughly the equivalent to Adam and Eve in Christian culture.

Instead of being a mature adult, Nakajima uses his vast intelligence with computers and new found fascination with the occult to create a demon summoning program for his computer. He plans, with some success eventually, to get a demon to take revenge on his bullies and make him more prominent at school. What he doesn’t know is that he should never trust a demon and has his life thrown into utter chaos. It’s hard to pin Nakajima down as the “hero” of this story as he is basically a giant sociopath for about half the book. It isn’t until the presence of his love interest, a transfer student named Yumiko, that he stops being a total D-bag. I don’t mean benign either – his is directly responsible for rapes, murders, and brainwashing until he flips a total 180 to being a heroic lover this side of Shakespeare’s Romeo.

This weird characterization is one of my big issues with this book – yeah, I see all of the building blocks here that eventually became one of my favorite videogames of all time, but the characters seem one-dimensional and switch personalities half-way through the book. Perhaps this is the fault of the translation I have, or characterization was not the purpose of this story. To me, Mr. Nishitani excels at describing horrific gore and body horror, and the majority of his descriptive prose is there to make the reader’s stomach turn.

Not much to say about book two that wasn’t posted up there.

When I read Digital Devil Story: Goddess Reincarnation I characterized it as a mediocre book with bland characters (or awful ones) that had amazing descriptions of body horror but not much else. Granted, it did sow the seeds of one of my favorite video game franchises of all time, but it was a shell of what I expected.

While this book is still slightly hokey, the main character, Nakajima, is written slightly less unlikable, so at least you can relate to him this time around. The secondary cast is decent and the villain is cool. Most notably, this chapter brings in tropes like a somewhat post-apocalyptic setting and a demon-fighting mechanic that proved so popular that even Pokemon ripped it off years later.

This was very much better than the first book. If I was still rating stuff on here (I don’t because that’s dumb) I wouldn’t be able to bring myself to give it more than an average score, but this might just be worth reading. I wish I could read part three, but as of 2017 there is yet to be any sort of English translation. It seems the guy thaat was doing it got a real job translating stuff and never went back. Maybe one day we’ll see it surface

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I am so glad to finally read this! I’m a big fan of Leiji Matsumoto, so I was pretty disappointed with a now defunct anime company called ADV only releasing half of the OVA animated series that was loosely based on this original 1978 manga. That was like a decade ago, and there wasn’t really a good way to get the rest of the story legally. Flash forward to 2016 and not only can you buy things like a legit copy of Captain Harlock on DVD, but one can also buy this original manga in a beautiful hardcover edition!

If you like space operas, I’d definitely recommend checking out some of Leiji Matsumoto’s works if you are unfamiliar. He is, perhaps, most well-known (by a casual audience) for inspiring the fabulous animated music videos for the French House music duo Daft Punk during their Discovery era. These videos were later collected into a film called Interstella 5555. Older fans may, no doubt, recognize his other works such as Star Blazers (Yamato) or Captain Harlock – it’s all the same guy.

Matsumoto has woven a fine tapestry of interconnected stories with stoic characters that anyone can love; unfortunately, most younger anime fans ignore classics and he has somewhat fallen out of the mainstream as of late. I was assuming that some of his older comics would never come out here, until I read a recent news article from Publisher’s Weekly, touting VERY strong sales of older comic titles at Anime Expo such as pre-orders for this very book!

“At the Kodansha Comics panel on Saturday, Ben Applegate, director of publishing for Kodansha Comics, cheered the ongoing rebound in manga print sales. “You’re probably seeing all the industry people here smiling, so you know that the manga industry is doing really well,” he said. “This resurgence of manga is allowing us to take chances on different series we wouldn’t usually in the past.” […] An example of a title that, in the past, Kodansha might have thought was too risky to publish in English is Leiji Matsumoto’s Queen Emeraldas, which the publisher is releasing in August. An older, classic SF adventure, the advance hardcovers of the book were sold out by weekend’s end.”

As for the book itself, the story surrounds a boy named Hiroshi Umino, who strives to be a powerful star captain so that he can live by his own rules and sail the “sea of stars” like his heroes. His run in with Emeraldas changes his life forever, as she slowly becomes his mentor (of sorts). Emeraldas is basically like Xena in this book, a total badass that kicks booty and takes names. You often see supposedly feminist comic characters that end up being some sort of fetishistic dominatrix-style sexual wish-fulfilment trope, but that’s not how Emeraldas rolls. I wouldn’t name my very own cat after a character with skeevy undertones like that! We see Hiroshi and Emeraldas sharing eerily parallel origin stories until they meet again later on.

If you are also a huge fan of Matsumoto’s works, or are familiar with stories like the aforementioned Captain Harlock, Galaxy Express 999, Galaxy Railways, Arcadia of my youth or Maetel legend, you will absolutely love this. This story adds more substance to a somewhat overlooked character that constantly shows up in various shows as a background character. Otherwise, this book stands on it’s own well, and acts as an introduction to a character that thankfully appears in a ton of material. If you become a fan you will want to branch out and see more. And hopefully, if this book ends up selling well Kodansha will release more Matsumoto manga!

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LONG Before I even decided to get a PlayStation 3, I would check the various recommendation threads and other such things on a lot of gaming forums to see what games were seen as the “killer apps” that I should definitely play. I was honestly sort of cranky with Sony after the PS3 launch, pricing especially. I needed something that stood out, a game that I couldn’t get anywhere else, and one game, more than any other, was constantly touted as being not only one of the most underrated games on the PS3, but one of the best RPGs out there on any system. That game was the first Valkyria Chronicles. I finally got the system, and immediately snagged a copy of it.

I was taken aback by how mature the game was, and no I don’t mean “blood and guts and boobs” mature like the many games that misuse the term today, but an honest mature game done in such a way that most folks of the teenage persuasion, except maybe anime fans, would probably scoff at it. Yes the game deals with war, but in concentrates on the heroics and struggles with fighting rather than the bleak horrors of any battlefield.

The art style alone is worth the purchase

For those that haven’t heard of the series, all of the games follow a fictitious war that somewhat closely resembles World War II if you squint really hard and drop some pixie dust on it. In this fantasy world, a small country called Gallia suddenly comes under attack from a huge land grabbing conglomerate of nations dubbed the East Europan Imperial Alliance. This is a shock because these Nazi analogues (if you equate them to our terms) are at war with another federation of countries that dub themselves the Atlantic Federation, and there is no real reason for such an invasion to occur (other than energy reserves to fuel the war). The game places you in the shoes of a rag-tag group of militia members that are suddenly forced to repel the most powerful army on earth on the verge of world conquest. This is of course the stage for a game that breathed an icy breath of fresh air into a somewhat played out genre – the strategy RPG.

The immediate thing that struck me about both games in the series that I’ve played is that they have some huge balls, and exist as a true asset to the RPG genre, especially in how they portray war. For years we have been playing hundreds of World War II games, and very few of them have actually managed to mention the holocaust or the Jewish people for fear of getting the game banned in some random countries. Here, however, we have a game that revolves around a group of people called the Darcsens that have literally been blamed for just about every bad thing in the world for hundreds of years, and are the targets of ethnic cleansing campaigns (in Valkyria Chronicles 2 most notably) and even forced to work in labor camps. The fact that any series had the cajones to even attempt to have a storyline closely mirroring this sort of world event makes SEGA go up in my books quite a bit.

Racism is somewhat unsettling in the game. Darcsens are seen as unholy inferior people to many in the game, even protagonist characters. In my experience, race politics are rarely seen in JRPGs.

Flash forward just a few years and it seems that a series with such promise, critical acclaim, big sales in Japan, and a cult following in America should be running strong; sadly this is not the case. Valkyria Chronicles may already be dead, especially in the west. A few years back news rang out about the possible release of the third Valkyria Chronicles game in America specifically. SEGA West had been pretty tight lipped about it, and its no-show at E3 that year was amongst about a dozen or so games that seemed absent from localization plans. game journalists apparently talked to some of the SEGA reps at E3 and asked if the new Valkyria Chronicles and Phantasy Star games would be heading to the west and the news wasn’t good.

Valkyria Chronicles III (or pretty much any other Japanese PSP game that year) never came to the west. This was largely because the PSP was on life support when the game released. You see, in their grand wisdom, Sega decided to make a quick buck by churning the games out far too quickly on a completely other system as before (more on that later). Valkyria Chronicles II, a direct sequel to the first PS3 game, was confusingly a now handheld title. Granted, at the time the PSP had a userbase of more than 50 million users (a lot more than the PS3 at the time), but how many outside of Japan would buy it? How many had the first game? Series Producer Shuntaro Tanaka told Famitsu that the second game was being developed for the PSP instead of the PS3, in order “to allow a broader spectrum of users to discover and enjoy what makes Valkyria special.” Tanaka added that the series could return to consoles in the future, though.

There are rumors that SEGA decided to release the games on the PSP in order to capitalize on the TV anime that was running, using it to hock a host of toys and such that were hot on the market. Moving a flagship title for any series across platforms is a tough decision, and especially ludicrous when we have to realize that Valkyria Chronicles II was, not shockingly, only the second game in the series. Usually, handheld spinoff games come well into the lifespan of a series, ala Final Fantasy and it’s numerous side-games. While it did decently well in Japan, the sales were still under that of the first game, but the real story is the American Market. VGchartz has the game listed at an estimated 80k for the American Market. That’s basically an estimated eight times less than what the first game obtained in the same region.

Here are some graphs to speak for themselves, these are old screen-grabs I took when I first published this article but they still stand:

Please note the scaling difference between the two graphs.

I’m not going to jump on the anti-piracy bandwagon, but when you have a system that is cheap and easy to develop for, but is plagued with piracy and doesn’t perform well in all areas versus a system that does a bit better in all areas, and isn’t hit hard (until recently) by any sort of hackers, I wonder why you’d choose the former. SEGA obviously wanted a quick buck rather than letting a franchise grow a bit more naturally, and it’s hurt the series pretty bad. Since its release the third game in series had barely cracked 160k units in sales, a far cry from the previous games.

Sadly, Japanese gaming companies really hit a rut about five years ago, and honestly they are still there, they don’t take chances and seemingly have regressed back into a Japan-only mindset that pretty much guarantees failure. Putting anything on the PSP during that time, or the Vita currently, pretty much guarantees a niche game that few will play. But why is this happening? Take, for example, words by Keiji Inafune, the once prominent mind behind many Capcom classics such as Mega Man and Dead Rising:

Keiji Inafune

“The mainstream industry in Japan is like a large tree that’s just begun to wilt. It’s still standing strong, it hasn’t collapsed just yet, but it’s not doing all that well,” Inafune told The Verge at BitSummit, a Kyoto indie-games festival in its second year. Inafune himself went independent in 2010, leaving giant developer Capcom to start his own studio called Comcept. He believes that indie games are the most exciting thing happening within the Japanese industry. “Indies have just sprouted above the ground. There’s still this monolithic large tree over the industry, but indies have popped up. Whether or not the big tree will fall, whether or not the indie scene will grow into a tree itself, I don’t know.”

Inafune is just one of many big name studio guys leaving “wilting trees”, perhaps the most prominent was Hideo Kojima and his epic battles with Konami leading up to the release of the last Metal Gear game. He now works for Sony and Konami is making cellphone and pachinko games.

I wish more of these big Japanese companies with American publishing arms would look at companies like Atlus (owned by SEGA now) and XSeed for how to treat localizations. XSeed, for example, has released a few games in the Record of Agarest War series digitally, that way they could obtain a cheap license and keep costs down. These smaller publishers also set realistic goals for sales of these games, instead of assuming that a niche strategy RPG will be a huge blockbuster, NIS and Atlus both learned a ton about the market, and learned how to market, publicize, and keep costs down on a ton of games like La Pucelle Tactics, Disgaea, and even Phantom Brave. They don’t always sell crazily well, but they have rabid followings that keep buying the games, and keeping them going.

A somewhat new game in the series.

So, where do we stand now? well, there might be a glimmer of hope shining through. While the third installment is still the last game in the series so far, many fans are hoping that a recent HD remaster of Valkyria Chronicles and a new spinoff game will re-ignite interest in the series. The spinoff, Valkyria Revolution, is planned to be released by SEGA in Japan on January 19, 2017, and in North America in early 2017. It is also planned to be released by Deep Silver in Europe in early 2017 as well. For the Western releases, an Xbox One version will also be available.

This shows a big change for SEGA in that they seem to be switching back to home consoles for games like this, and are trusting the west to support more niche games. Namco-Bandai recently did a similar thing and finally got the Tales series back on track over here, so who knows… As for Valkyria Chronicles III? I guess there is always hope that SEGA could do a PSP Remake edition for the PS4, but if they think the game won’t sell well, where is the incentive? Even a digital release with original dialog would be good, but I’m not holding my breath.

If Valkyria Revolution bombs, the fans are not to blame – a decade of poor and largely short-sighted business decisions are. If it does happen, only one thing comes to mind – Sorry SEGA, but you guys ruined your own franchise.

Valkyria Revolution looks promising!

Disclaimer: A version of this article was originally produced for a now-defunct video game website that I worked for in the past. I have decided to rescue some of this stuff so it doesn’t disappear from the internet forever. If you enjoy this, let me know and I might just do more!

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“The age old adage home is where the heart is finds its true meaning in Miyakejima, a small island located in southeast Japan. Despite the high level of volcanic activity that causes poisonous gas to leak from the earth that forced the 3,600 island residents to evacuate in 2000, the citizens just won’t stay away. Thus, the self-appointed gas mask town rose from the, very literal, ashes.”

I’ve looked at a few Nigel Kneale teleplays from the 1950’s this year, and I thought it would be a nice change of pace to find one of his later works to review for this very blog. I truly believe that Nigel Kneale is one of the often overlooked grandfathers of science fiction, as you can see his fingerprints on tons of modern genre TV (especially Doctor Who). That’s the main reason I’ve been slowly digging through all the Quatermass material I could get my hands on – to hopefully build some awareness if I can.

Today, I ultimately settled on The Stone Tape, mostly because I had never heard of it before this viewing. This was Kneale’s last accepted BBC script before he ultimately got fed up with them and jumped ship to ITV. After years of what he perceived to be meddling and broken promises by the BBC, Kneale took his rejected fourth Quatermass script, among others, and ran. Luckily The Stone Tape doesn’t shed any light on his professional troubles, and seamlessly blends sci-fi, horror, and drama into one cohesive film that was so well received that it helped establish a paranormal theory – the stone tape theory.

As Wikipedia states “The Stone Tape theory is a paranormal hypothesis that was proposed in the 1970s as a possible explanation for ghosts. It speculates that inanimate materials can absorb some form of energy from living beings; the hypothesis speculates that this “recording” happens especially during moments of high tension, such as murder, or during intense moments of someone’s life. This stored energy can be released, resulting in a display of the recorded activity. According to this hypothesis, ghosts are not spirits but simply non-interactive recordings similar to a movie. Paranormal investigators commonly consider such phenomena as residual hauntings.”

In an effort to gain market share on his Japanese competitors, the head of the R&D department of Ryan Electronics, Peter Brock, has been struggling to develop a new recording medium that can revolutionize the industry. His team have set up shop in a new facility within an old Victorian mansion called the Taskerlands, a property that seems to have some unwanted lab assistants. Jane Asher (See my review of A for Andromeda for more of her) stars as the weak-willed computer programmer Jill Greeley. Jill spends the first few minutes of the film paralyzed by fear for a handful of different reasons: first a near miss car accident, then a ghostly sighting within the mansion. To Jill’s horror, a young woman can be seen committing suicide within a room that workers refuse to renovate.

After asking around, the team learns that The Taskerlands is, in fact, notorious for the death of a maid some one hundred years prior. Brock puts two and two together and realizes that this “haunted room” has somehow recorded the death of this poor girl. This phenomena, dubbed “stone tape”, could be the very breakthrough that the team is looking for, just as long as they can somehow harness it. As you can imagine, there are setbacks and all manner of paranormal incidents going on at the Taskerlands, and not everyone makes it out in one piece.

The Stone Tape vaguely reminds me of a handful of serialized TV shows such as The Twilight Zone or The Outer Limits for some reason. It’s not because it has a big moral at the end of the story or anything, unless that moral is science is bad, but the way it ends is one of those abrupt shock endings you get used to with that sort of show. The Stone Tape definitely has a better budget than those sorts of shows, but fans of that genre might be interested.

As with anything from the 1970’s, there is quite a bit of “culture shock” to get through when watching something almost 40 years after the fact. The entire plot hinges on the fact that everyone at Ryan Electronics fears that Japan will soon be taking over their entire country in just about every way, and finding a way to edge them out is the only way to stop it. This reeks of the general xenophobic mindset of the time, something that manifests itself with casual racism and “yellow peril” / Fu Manchu impressions from a few characters. These scenes made me cringe a bit, but luckily they weren’t glamorized, one man thankfully gets told to shut up. Seeing this, one has to wonder how poorly anything modern, full of the casual anti-Islamic sentiment we see in TV, will look forty years from now? I bet my grandchildren will be just as embarrassed as I am today.

My main quibble with this drama is something I brought up earlier, and another cultural relic from a long time ago. Jill is a laughably weak character, seemingly breaking down into fits of madness whenever anything bad happens. She’s like one of those stock “old-timey” female characters that has to be slapped whenever they go into fits for some reason. Granted, I’ve been in a few car accidents, so I know they can mess up your mental state. I can’t imagine someone being so indisposed afterwords that everyone around has to baby the person in question for weeks on end. Jill reminds me of the old stereotype that Doctor Who used to suffer in regards to it’s female companions, as she is seemingly only there to scream, fall down, and look weak. This does a great service of making most of the male cast look dashing and heroic in comparison, at the cost of making Jill unlikable.

As with many productions of the time, this movie has little in the way of special effects. In fact, the only sequences that really have these sorts of shots involve camera tricks to achieve ghostly images, pretty much on par with any other 1970’s BBC sci-fi or horror shows. The horror that builds in many scenes is usually achieved with lighting and sound in place of flashy visuals. These effects include, but are not limited to: Perhaps a blood-curdling scream, flickering lights, or a horrible noise. In many ways, this helps the production, as a cheesy guy in a suit could have ruined any tension that is achieved without it.

Personally I’m more of a fan of this sort of horror film than what most people like, that’s why I usually tell people “I don’t like horror movies”. I have grown tired of “gore porn” films that over-saturate the market today, as they are not scary to me whatsoever. What things such as The Stone Tape have over them is that they can build real tension without resorting to jump scares and blood to make the viewer squirm. I’m not saying it’s the best thing ever, or that I’m now super into horror, but it’s a step in the right direction for me.

The Stone Tape is pretty good despite the flaws it has. It’s by no means the best thing Nigel Kneale ever wrote, but it’s pretty good as a horror /sci-fi program. I will say that some cultural relics from the early 70’s including casual racism and borderline misogyny made me a bit uncomfortable, but neither ruined anything for me. If anything, they made me think of how we act today, and how that will look in the future. If you have a few hours to kill, and want to see an old-school horror movie with a sci-fi splash, you might like watching this, but finding it might not be easy. It was on DVD over a decade ago,but is out of print pretty much everywhere. I was able to find it in its entirety on YouTube, so that should be the place for you to look as well!

As promised, I’m going to review a newer anime today rather than sticking to the decade of my birth like my last few entries. This short film is one that many people have probably not heard of before, as it was created via a “crowd funding” project. About a year ago, I found a film called Kick Heart by Masaki Yuasa and Production I.G. on Kickstarter. Mr. Yuasa is of course the man behind the surreal (and pretty much awesome) short film Cat Soup, so I knew I just HAD to back the project. It doesn’t hurt that I’m also a huge pro wrestling fan either! It eventually made it’s required money, but missed it’s “stretch goals” which would have potentially moved the project into a feature length film, but what we got was pretty awesome none-the-less.

The story follows a man named Romeo Maki as he tries to get by with a fairly surprising dual life. Romeo works as both a masked professional wrestler and the CEO of a rundown orphanage. He funds with orphanage via proceeds from his night job, but things aren’t looking good. Lately the roof has been leaking non-stop, and it appears that a large snake has taken the children’s restroom as his home. In desperation, Romeo enters a $50,000 “winner takes all” contest against another masked wrestler named Lady S, but things get weird real quick. Lady S “gets off” by inflicting pain on her opponents, and Maskman M (Romeo) get’s the same pleasure from receiving pain. I know this sounds like the makings of an adult film, but don’t worry, Kick Heart is pretty much PG-13. Oh yeah, I forgot to mention that Lady S also works at the orphanage as a quiet young nun named Juliet, but Romeo doesn’t realize this.

The animation in this film is pretty nice, and resembles those old Bill Plympton cartoons more than any anime I’ve ever seen. Everything is sort of “sketchy” and VERY brightly colored, which really helps this film have an “edgy” or “underground” feeling to it. It’s almost like something that would have aired on MTV’s ancient Liquid Television show really late at night. I enjoyed the fact that you never got to see Romeo’s face completely, this was mostly because he lived most of his life as a masked wrestler, and tradition generally goes that such performers are never to be seen in public without their masks on. Romeo, in businessman mode, always has a black censorship bar over his eyes, a little touch that gives this film something different that really makes it stand out.

The character designs are pretty awesome and some are even borderline grotesque. Lady S’s tag team partner, in particular, is a giant of a woman that is so large that she crushes a portion of the audience when she is defeated in one of their bouts. The cool thing is that because of this, no two characters look the same, and are “larger than life” just like how pro wrestling characters generally are.

I love what Kickstarter and other crowd funding services could potentially bring to the anime market. Films like this or the recent Bubblegum Crisis Blu-Ray release are products that most likely would not have been produced in the current anime market, so pre-ordering these projects beforehand really lessen the risk of the project being unsuccessful, and guarantees the releases. Eventually I want to see more experimental films like this, and maybe older anime getting put up. It really could change the landscape of the whole industry.

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